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Valor MAG Clan[HAM]Harmony2ArmsofM8 (Harmony to Arms of Mate) Valor active in clan [HAM] is a web site. Clan Details 【Clan Tag】[HAM] 【Clan Name】Harmony2ArmsofM8(Harmony to Arms of Mate) 【PMC】Valor Clan Policy Our clan [HAM] is "Win at Baylor! Also enjoy losing! MAG has been playing in the stance. Fun s play Observe the common sense and manners! Core time [HAM] has been playing mostly seized. The main activity time is when a lot of people here at 20 to 25, some members in a high rate during the day or late at night. 更新履歴 取得中です。
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Changes Come on come on I see no changes wake up in the morning and I ask myself is life worth living should I blast myself? I m tired of bein poor even worse I m black my stomach hurts so I m lookin for a purse to snatch Cops give a damn about a negro pull the trigger kill a nigga he s a hero Give the crack to the kids who the hell cares one less hungry mouth on the welfare First ship em dope let em deal the brothers give em guns step back watch em kill each other It s time to fight back that s what Huey said 2 shots in the dark now Huey s dead I got love for my brother but we can never go nowhere unless we share with each other We gotta start makin changes learn to see me as a brother instead of 2 distant strangers and that s how it s supposed to be How can the Devil take a brother if he s close to me? I d love to go back to when we played as kids but things changed, and that s the way it is Come on come on That s just the way it is Things ll never be the same That s just the way it is aww yeah That s just the way it is Things ll never be the same That s just the way it is aww yeah I see no changes all I see is racist faces misplaced hate makes disgrace to races We under I wonder what it takes to make this one better place, let s erase the wasted Take the evil out the people they ll be acting right cause both black and white is smokin crack tonight and only time we chill is when we kill each other it takes skill to be real, time to heal each other And although it seems heaven sent We ain t ready, to see a black President, uhh It ain t a secret don t conceal the fact the penitentiary s packed, and it s filled with blacks But some things will never change try to show another way but you stayin in the dope game Now tell me what s a mother to do bein real don t appeal to the brother in you You gotta operate the easy way "I made a G today" But you made it in a sleazy way sellin crack to the kid. " I gotta get paid," Well hey, well that s the way it is Come on come on That s just the way it is Things ll never be the same That s just the way it is aww yeah That s just the way it is Things ll never be the same That s just the way it is aww yeah We gotta make a change... It s time for us as a people to start makin some changes. Let s change the way we eat, let s change the way we live and let s change the way we treat each other. You see the old way wasn t working so it s on us to do what we gotta do, to survive. And still I see no changes can t a brother get a little peace It s war on the streets the war in the Middle East Instead of war on poverty they got a war on drugs so the police can bother me And I ain t never did a crime I ain t have to do But now I m back with the blacks givin it back to you Don t let em jack you up, back you up, crack you up and pimp slap you up You gotta learn to hold ya own they get jealous when they see ya with ya mobile phone But tell the cops they can t touch this I don t trust this when they try to rush I bust this That s the sound of my tool you say it ain t cool my mama didn t raise no fool And as long as I stay black I gotta stay strapped I never get to lay back Cause I always got to worry bout the pay backs some buck that I roughed up way back comin back after all these years rat-a-tat-tat-tat-tat that s the way it is uhh 2PAC
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《Agent of Stromgald》 #whisper マナフィルターなクリーチャー。 赤→黒限定のフィルター能力を持つ。 黒赤デッキでの色事故対策としてももちろん機能するが、本命は生命吸収/Drain Life用と考えておけば間違いない。 類似クリーチャーの漆黒の手の信徒/Initiates of the Ebon Handと比べると、 色限定になっている分、1ターンにいくらでも変換できる。 赤黒デッキならば、漆黒の手の信徒の代わりにいれてもいいだろう。 非常に珍しい「1マナの騎士」である。未来予知現在、該当カードはこれと勇猛な反対派/Lionheart Maverickのみ。--性能的にもカード名的にも、ストロームガルドの災い魔、ハーコン/Haakon, Stromgald Scourgeが最良の上司。生け贄手段と合わせて墓地と場を回転するコンボパーツとしてだけでなく、ハーコンのダブルシンボルを安定化することもできる。 参考 ストロームガルド騎士団/The Knights of Stromgald(背景世界/ストーリー用語) カード個別評価:アイスエイジブロック
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【Tags Miku Satsuki Ga Tenkomori tI tN O】 Original Music title お断りします English music title I Refuse / I Reject / No Thank You Romaji music title Okotowari Shimasu Music Lyrics written, Voice edition by さつき が てんこもり (Satsuki Ga Tenkomori) Music arranged by さつき が てんこもり (Satsuki Ga Tenkomori) Singer(s) 初音ミク (Hatsune Miku) Fanmade Promotional Video(s) Click here for the original Japanese Lyrics English Lyrics (translated by Kumoriha): (NO THANK YOU) I refuse! I absolutely refuse! I refuse! I’ll pass! I refuse! I refuse! I refuse! These annoying days are like piled up frustration. The train’s completely packed. I’ve come down with something. Waking up at 7, I rush and am barely late. My earphones are all tangled up. I just give up. A quarrel, traffic jam, Monday, annoying mail, inaccurate forecast, my hair’s all wet, I forgot something, my battery died, I spilled my juice. Selfishness, gossip, I rode too far, misspelled a word, stomachache, angry voices, got off at the wrong stop, a huge crowd- Just put it all together and… I refuse! I absolutely refuse! I refuse! I’ll pass! I refuse! I refuse! I refuse! These days I’ve grown accustomed to are like piled up frustration. I forgot where I put my favorite umbrella. (NO THANK YOU) Fell asleep again. I rush and am barely late. The pen ran out of ink. I just give up. A quarrel, traffic jam, Monday, annoying mail, inaccurate forecast, my hair’s all wet, I forgot something, my battery died, I spilled my juice. Selfishness, gossip, I rode too far, misspelled a word, stomachache, angry voices, got off at the wrong stop, a huge crowd- Just put it all together and… I refuse! I absolutely refuse! I refuse! I’ll pass! I refuse! I refuse! I refuse! I refuse! I absolutely refuse! I refuse! I’ll pass! I refuse! I refuse! I refuse! English Lyrics (translated by motokokusanagi2009): (NO THANK YOU) No thank you, no thank you, absolutely No thank you, leave me alone No thank you, no thank you No thank you I m sick of my daily life My frustration is building up In a crowded train I feel something dying inside me Even getting up at 7, I arrive at the office just in time My headphones are entwined I m giving up on something Troubles, traffic jam, blue Monday Spam emails, wrong weather predictions My bangs are bad, I forgot to bring something The battery is dead, I spilled my drink Selfish people, gossiping, missing my station Miswriting, stomachache, angry shouting Incoming calls at the wrong time, the crowd To all of them No thank you, no thank you, absolutely No thank you, leave me alone No thank you, no thank you No thank you Even getting used to the daily life My frustration is building up I left behind my favorite umbrella (NO THANK YOU) Going back to sleep, I hurried to the office just in time A ballpoint pen without ink, I m giving up on something Troubles, traffic jam, blue Monday Spam emails, wrong weather predictions My bangs are bad, I forgot something to bring The battery is dead, I spilled my drink Selfish people, gossiping, missing my station Miswriting, stomachache, angry shouting Incoming calls at the wrong time, the crowd To all of them No thank you, no thank you, absolutely No thank you, leave me alone No thank you, no thank you No thank you No thank you, no thank you, absolutely No thank you, leave me alone No thank you, no thank you No thank you Romaji lyrics (transliterated by motokokusanagi2009): o kotowari shimasu, o kotowari shimasu, danko o kotowari shimasu, go enryo shimasu o kotowari shimasu, o kotowari shimasu o kotowari shimasu yan nacchau hibi ni kasanaru yōna furasutorēshon man in densha nanika ga same te iku shichi ji oki de isoi de chikoku giri giri karamaru iyahon nanika o akirame te iku momegoto, jūtai, getsuyōbi meiwaku mēru, hazureta tenki yohō gusha gusha maegami, wasuremono denchi gire, nomi koboshita jūsu wagamama, kageguchi, nori sugoshi kaki machigae, fukutsū, donari goe ma ga warui chakushin, hitogomi mō zenbu matome te o kotowari shimasu, o kotowari shimasu, danko o kotowari shimasu, go enryo shimasu o kotowari shimasu, o kotowari shimasu o kotowari shimasu nare te kichau hibi ni kasanaru yōna furasutorēshon o kini iri no kasa oki wasure (NO THANK YOU) nidone shi chatte isoi de chikoku giri giri inku gire no bōru pen nanika o akirame te iku momegoto, jūtai, getsuyōbi meiwaku mēru, hazureta tenki yohō gusha gusha maegami, wasuremono denchi gire, nomi koboshita jūsu wagamama, kageguchi, nori sugoshi kaki machigae, fukutsū, donari goe ma ga warui chakushin, hitogomi mō zenbu matome te o kotowari shimasu, o kotowari shimasu, danko o kotowari shimasu, go enryo shimasu o kotowari shimasu, o kotowari shimasu o kotowari shimasu o kotowari shimasu, o kotowari shimasu, danko o kotowari shimasu, go enryo shimasu o kotowari shimasu, o kotowari shimasu o kotowari shimasu
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Anatomy of the Spine 脊椎の解剖学 https //www.youtube.com/watch?v=xonZvWOt670 http //www.proko.com/anatomy-of-the-spine/ 0 00 The spine is literally the backbone of the body. 脊椎は文字通り人体の背骨です。 It holds the torso together and moves it around. 脊椎はトルソをつなげ、動き回れるようにしています。 0 11 Hey there, I m Stan Prokopenko, you re watching Proko. ハァイ、私はStan Prokopenkoです。 Prokoチャンネルです。 0 22 We re going to start our study of the skeleton with the spine. 今回は脊椎を伴った骨格の勉強です。 The spine is the connection between the 3 major masses the head, ribcage and pelvis. 脊椎は三つの大きな部分をつなげています。 頭、胸郭、骨盤です。 And it s wedged between 2 butt cheeks. そして、脊椎は二つの尻山の間に くさびのように打ち込まれています。 When constructing the figure, it s common to start with these 3 masses, before adding the limbs. 人物画を描くとき、 手足を描く前に 三つのかたまりから始めるのはよく行われています。 Remember how in the figure drawing course we used the bean and Robo bean to quickly establish the torso? 人物画のコースで、我々がビーンとロボビーンを使って どうやってトルソを描いたか覚えていますか? The bean was a simple way of establishing the gesture of the torso using simple shapes. ビーンは、簡単な形を使って人体トルソを構築する シンプルなやり方です。 The robo bean added more structure to the bean to describe its orientation in space. ロボビーンは、ビーンにさらに詳しい構造を付け加えたものです。 胸部と腰の隙間を介してその方向性を記述するためです。 1 02 Melissa I can t even see the spine. Why do we study it? Melissa 「脊椎は目に見えないわ。 なんでそんなものを勉強するの?」 1 08 Here s the deal with the spine. これが脊椎の様子です。 It places the rib cage, the pelvis, and the skull wherever they happen to be, and they can t go anywhere the spine doesn t let them. 脊椎によって、胸郭と骨盤と頭蓋が所定の位置に配置されているのであり、 それらがどう動こうが、脊椎が動けないところへは 三つの部分は動けません。 They inherit the spine s limitations. それら三つの部分の可動領域は、 脊椎の可動限界に支配されているのです。 If we want to construct a torso in any pose, we need to understand the spine. どのようなポーズでトルソを描くばあいにおいても、 脊椎について理解している必要があります。 Let s do it. やってみましょう。 1 29 Big Structure of the Spine 脊椎の主な構造 The spine is strong enough to support the weight of the upper body, yet flexible enough to move. 脊椎は上半身の重さを支えるために大変強靭で、 にもかかわらず大変柔軟に動くことができます。 It s composed of 24 individual vertebrae hard bones that give the spine its strength. 脊椎は24の個々の椎骨で構成されています。 大変固い骨であり、脊椎が強靭なのもそのせいです。 1 46 The vertebrae have flexible cartilaginous discs between them, that allow the spine to move as a single line. 椎骨の間には柔軟な軟骨性の円盤が存在しており、 脊椎が一本の線として動くことを可能にしています。 Each plane moves only a little, but they add up to a lot. 各々の平面は少ししか動きませんが、 全体としては大きなものになります。 Like string of beads. ビーズ細工か数珠のようにです。 Every little movement contributes to a graceful curve. 個々の動作が各々少しずつ優美な曲線に貢献しています。 2 04 There are 4 sections to the spine. 脊椎には四つの部分があります。 The cervical section of the neck consists of 7 vertebrae. 頸椎は、七つの椎骨でできています。 2 11 The Thoracic section of the ribcage has 12 vertebrae, one for each rib. 胸郭における、胸椎は12個の椎骨でできており、 個々の椎骨に一つの肋骨がついています。 The Lumbar section of the lower back has 5 vertebrae. 人体後部下部の腰椎は五つの椎骨を持っています。 The fourth section is technically considered as 2 separate sections, but I m going to combine them - the sacrum and coccyx, which is the tailbone. 四番目の部分は、専門的には二つの分かれた部分ですが、 私はそれらを一つに考えます。 仙骨と尾骨です。 2 32 The sections give the spine a 4-arch curve. 四つの部分のせいで、 脊椎には四つのアーチ状のカーブが存在しています。 If the spine were a straight line, it would be strong, but rigid. もし脊椎が、まっすぐな線ならば、 強くはなるでしょうが、固くて柔軟性に欠けるでしょう。 This 4 arch curve gives better flexibility for shock absorption and aids in balance. この四つのアーチは、 衝撃吸収とバランスを保つのに役立っています。 And it s the framework for the posture of the body. そして脊椎は人体の体勢の基本となっています。 2 51 The cervical curve is the least curvy - it s almost a straight line. 頸椎の曲線は最も小さいものです。 それは殆ど直線です。 But, it does have a very subtle forward curve. しかしそのカーブはわずかに前方に向かっています。 The thoracic curve is longest, and more curvy than the cervical section. 胸椎は最も長くい曲線で、 頸椎よりも曲がっています。 It curves backward and aligns with the shape of the ribcage. 胸椎は後方へ曲がっており、 胸郭の形に添っています。 The lumbar section curves forward and is even more curvey. 腰椎は前方へ曲がっており、 より強く曲がっています。 The Sacral curve is the most curvey of all the sections. 仙骨部分のカーブはすべての部分の中で最も強く曲がっています。 So, as you can see the curves get progressively curvier as they go down the spine. つまり、 今まで見てきたように、 各部分の曲線は、 脊椎を下にたどるにつれて 段階的に曲がりがきつくなっていっています。 3 27 Common Structure of the Vertebrae 椎骨に共通な構造 3 29 The vertebrae of each section have slightly different structures, some for strength, some for flexibility. 各部分の椎骨は、幾分異なった構造をしています。 強度のため、あるいは柔軟性のためです。 However all the vertebrae, share the same common components. しかし、すべての椎骨は、 同じ共通の構成要素を持っています。 3 42 Each has a thick disk-like Body, which connects to the neighboring vertebra with a squishy little pillow, forming the main joint of the spine. 各々の椎骨は、円盤状の厚い本体があり、 それぞれがぐにゃぐにゃした枕を介してつながっています。 これが脊椎の主な関節です。 3 52 On the back of the body is a u-shaped Arch, creating a hole through which the spinal cord runs. 本体の後ろにはU字型のアーチがあり、 脊髄が通るための穴を作っています。 This locks the fragile spinal cord inside and provides protection. このアーチが脆弱な脊髄を固定し、守っています。 4 04 On this arch are a few processes; little spikes that stick out like the needles on a porcupine. このアーチの上にはいくつかの突起があります。 ハリネズミの上の針のように小さなとがった物体です。 4 10 A Spinous Process points out posteriorly. 棘突起は後方に突き出ています。 The subcutaneous tip is the only part of the vertebrae that makes an appearance on the surface body. 皮下組織に関するテクニックとして、 棘突起は、人体に表面に見える唯一の椎骨の部分です。 4 21 The shape and angle of the spinous process changes as we move down the spine. 棘突起の形と角度は、 脊椎を下がるにれて変化していきます。 Cervical spinous process fans out like a lobster tail. 頸椎の棘突起はロブスターのしっぽのように扇状に広がっています。 Thoracic is a long spike. 胸椎は長い釘です。 Lumbar is like the blade of an axe. 腰椎は斧の刃のようです。 But these shapes are not observable on the surface. しかし、これらの形は表面では目で確認できません。 We can only observe that the thoracic are pointy and the lumbar are longer. 胸椎では点状で、腰椎では幾分長くなることが分かるだけです。 The first 6 cervical aren t visible at all. 頸椎の最初の六つの椎骨は表面上まったく確認できません。 Those are deeper in the neck, cover by the nuchal ligament. それらは首の深いところにあり、 項靱帯でおおわれています。 The first visible vertebra is 7th Cervical, which is considered a major landmark of the body. 最初に目に見える椎骨は第七頸椎であり、 人体の目印の中では大変重要です。 This is the most pronounced and clearly visible vertebra along the spine, seen right in the the middle of this diamond shape between the trapezius muscles. これは最も明瞭に目立つ椎骨であり、 僧帽筋の間に見えるひし形の形状の中心に見ることができます。 Also, the middle vertebrae of the thoracic section are usually not visible, even during forward lean, when the back muscles are stretched. 同様に、胸椎部分の真ん中に位置する椎骨は 常に目に見えません。 例え前に傾き背中の筋肉が伸ばされてもです。 But, this varies. Sometimes you ll see all the thoracic and lumbar vertebrae. ですが、この現象には大変多様性があります。 時々胸椎と腰椎の椎骨をすべて見えることがあります。 5 26 Motion 動作 5 28 What the spine does, affects the entire torso. 脊椎は、トルソ全体に影響を与えます。 5 32 The thoracic section leans back, and the sacral leans forward. 胸椎は後ろに傾き、 仙骨部分は前に傾いています。 Since the rib cage and pelvis attach to the spine, they inherit this lean. 胸郭と骨盤は脊椎にくっついているわけですから、 胸郭と脊椎はその傾きの影響をうけます。 So this, is the default position. つまり、これが、標準の体勢です。 Not this. こうではありません。 From there each section has it s own range of motion. このことから、各々の部分はそれぞれの動作範囲があります。 5 52 The lumbar section has the largest and strongest vertebrae of the spine. 腰椎部分は、脊椎の中で最も大きく強靭な椎骨を持っています。 It takes on the responsibility of holding all the weight of the upper body. 腰椎部分は上半身の重さすべてを受け止める責任を持っています。 It also takes care of lateral bending, (訳注 ビデオと字幕不一致 Main motion of the lumbar are is 腰椎部分の主な動きは、 ) flexion and extension. 屈曲と伸展です。 Especially flexion. とりわけ、屈曲です。 When you bend down to touch your toes, most of that bending happens at the lumbar region. あなたが体を曲げてつま先に触れたとき、 その動作のほとんどが腰椎部分で起きています。 6 17 The lumbar region is able to bending side to side, mostly at the top 3 lumbar vertebrae because the bottom two are connected to the sacrum by ligaments. また、腰椎部分は左右への動作も可能ですが、 殆どが上三つの腰椎椎骨で起きています。 下二つは仙骨にしっかりと靭帯で固定されているからです。 6 31 Rotation is restricted in the lumbar region. 回旋は、腰椎部分では制限されています。 6 36 The thoracic vertebrae are not as large and strong as the lumbar, so you d think they have more flexibility. 胸椎の椎骨は腰椎ほど強靭でも大きくもありません。 よって、あなたは胸椎にはもっと柔軟性があると考えるでしょう。 But, you d be wrong. しかし、その考えは間違っています。 The interlocking structure of the vertebrae and the fact that they are attached to the ribcage, keep the thoracic section relatively still. 椎骨の格子状の構造と、 胸郭に固定されているせいで、 胸椎部分は比較的固定的です。 Flexion, extension and lateral bending are very minimal. 屈曲、伸展、そして側面へ曲がる動作は 大変小さな動きです。 However, the thoracic sectionis able to rotate. しかし、胸部は回旋することができます。 Rotation is the main motion of the thoracic section. 回旋は胸椎部分の主な動作です。 7 09 The cervical spine is the thinnest and most delicate, so this allows for more flexibility in the neck. 頸椎は最も薄く繊細ですので、 首においてより柔軟性があります。 Rotation along all 3 axes is possible. 三軸で曲がることができます。 Flexion, extension, lateral bending and rotation. 屈曲、伸展、 側面への屈曲、 回旋です。 7 28 The first 2 vertebrae of the cervical section are unique. 頸椎部分における最初の二つの椎骨は大変ユニークです。 The Atlas and Axis. 環椎(Atlas)と軸椎(Axis)です。 The axis has a vertical cylindrical process inserting into atlas. 軸椎は、 垂直の円筒形の突起を持っており、 その突起は環椎の中に入り込んでいます。 Can you guess what kind of joint that creates? あなたは、この構造ががどの種類の関節を作るか当てられますか? [pause] You guessed it! A pivot joint. そうです! 車軸関節です。 ( As we ll see in a few minutes, this allows the head to rotate left and right. 数分以内に見ることになるでしょうが、 この構造が頭が左右に回ることを可能にしています。 訳注 字幕にあるが音声がない) 50% of cervical rotation is at the joint where the atlas meets the axis. 頸椎の回転の50%は 環椎と軸椎が接する関節で行われます。 50% of cervicalflexion and extension is at the joint where the altas meets the skull. 頸椎の屈曲と伸展の50%は、 環椎が頭蓋骨と接する部分で行われます。 So, the head can rotate side to side and up and down without much help from the rest of the neck, but the head can t bend laterally. よって、首の残りの部分の助けなしに、 頭は上下左右に回転できますが、 側面に曲がることはできません。 The neck does that. 首によって側面に曲がることができます。 Instead of drawing this, you would draw this. このように描く代わりに、 こう描きましょう。 8 19 Let s review. 復習です。 The cervical section is somewhat separate from the rest of the spine. 頸椎部分は幾分、脊椎の残りの部分から分離されています。 It moves the head around and has a lot of freedom to move in all directions. 頸椎部分は、頭をいろいろな部分へ自由に動かします。 The thoracic and lumbar sections are more limited and have to work together. 胸椎と腰椎部分は、 より制限されており、 一緒に動作します。 Thoracic takes care of most rotation and lumbar takes care of flexion, extension and lateral bending. 胸椎が殆どの回旋を引き受けており、 腰椎は、屈曲、伸展、側屈を引き受けてます。 8 46 Drawing the spine 脊椎を描く 8 48 Ok all that information is great and all. ハイ、これで脊椎の情報はすべてです。 But how do we actually draw this stuff. しかし、実際に描くにはどうすればよいでしょうか。 How does this apply to drawing the figure? どうやってこれらの情報を人物画にあてはめればよいでしょう? I ll show you in the next video. Keep your eyes out for that. 次のビデオでそれをお見せします。 見逃さないように! 9 01 That s it, thanks for watching! If you re posting your drawings, use hashtag #proko and don t forget to follow me on Facebook and Instagram. ハイ、ビデオを見てくれてありがとう! もしドローイングを投稿するなら、ハッシュタグ#prokoを使ってください。 フェイスブックとインスタグラムをフォローするのも忘れないで! Also check out the Anatomy for Artists group on Facebook at facebook.com/groups/anatomy4artists! If you like this video, share it with your friends, and if you want to be updated about new videos click here to subscribe to the Proko newsletter.
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Mannequinization - Structure of the Human Body マネキナイゼーション(マネキン化) - 人体の構造 https //www.youtube.com/watch?v=nRHfcqjbPq8 http //www.proko.com/mannequinization-structure-of-the-human-body/ 時間表記は有料版のものです。 In the last lesson we simplified the torso into two boxes. 前回のレッスンでは、我々は、トルソを二つの箱に単純化しました。 Now we ll add the forms of the rest of the body to complete the mannequin. さて今度は、 マネキンを完成させるために、 人体の残りの形を加えます。 00 25 Make sure watch “Structure Basics” for an introduction to structure principles. 構造の原則の基礎を理解するために、 "Structure Basics"のビデオを見ておいてください。 00 32 What is Mannequinization? マネキナイゼーション(マネキン化)とは何か? What I think of as mannequinization is constructing the pose from simple 3 dimensional forms that lock together all the way down the body. マネキナイゼーションを行うときに私が考えていることは、 単純な三次元の形、 その形は体全体を通して互いに噛み合っています、 その形からポーズを構築することです。 And when you look at all the parts they come together to resemble what looks like a person. そして、皆さんがそのすべてのパーツを見たとき、 それらは 人物が人物らしく見える何かを象徴するために 一体となっています。 All these parts, they re all separate, but they all connect to the whole. これらすべてのパーツは、 すべて分割されていますが、 それらは全体としてはつながっています。 And what brings them together is the gesture. そして、それらが一緒になって表現するものは、 ジェスチャーです。 !--音声にない書き起こし-- Each part follows the flow of the gesture. 各々の部分は、ジェスチャーの流れを追っています。 !--ここまで-- Along that gesture, you ll see a lot of interlocking shapes. ジェスチャーに沿って、 皆さんには互いに噛み合う形が見えることと思います。 So, the end of one will be shaped like the beginning of the next and they fit together like puzzle pieces. つまり、 一方の終わりは、次のもう一方の始まりのような形をしていて、 それらはパズルのピースのように互いにはまりあうのです。 Why Mannequinize? なぜマネキン化する(Mannequinize)のか? Mannequinizing the figure is very hard. 人物画をマネキン化することは大変難しいものです。 Much harder than it seems. 見た目よりずっと難しいです。 But it’s an important skill when you want to add depth and volume to your figure drawing. しかし、皆さんが皆さんの人物画に深みと量感を加えたいと思ったとき、 それは大変重要な技術です。 If you just rely on contour/outline to draw the figure, you’ll get flat drawings. もし皆さんがただ単に輪郭線に頼って人物画を描くのなら、 出来上がるのは平面的な絵でしょう。 Constructing the body as forms in perspective will give the drawing a sense of solidity. 透視図法に沿った形として人体を構築することは、 人物画に存在感を与えるでしょう。 It’s also helpful when you start shading the drawing. それはまた、皆さんが人物画に陰影をつけるときに助けになります。 Having established the plane changes makes it much easier to imagine the angle of each plane relative to the light source. 面の変化を把握することによって、 光源と比較して各々の面の角度を想像することを 簡単にします。 You’ll be able to sense some subtle gradations across forms that could have been missed otherwise. 皆さんは、今まで見過ごしてきたような 形をまたぐ僅かなグラデーションを感知することができるようになります。 One of the biggest benefits is if you have to invent the figure from your imagination. 最も大きな利益の一つは、 皆さんの想像から人物画を創造する必要がある場合です。 Starting with simple forms makes the problem much more manageable. 単純な形から始めることは、問題をより対処しやすいものにします。 Basic Overview 基本的な概略 When you re drawing the edges of the boxes and cylinders, don’t look for the literal lines on the body. 皆さんが、箱や円筒形の縁を描いているとき、 実際の人体に各々一致する線を探してはいけません。 They’re not there. それらは人体にはありません。 The edges between planes on a box are hard, so they can be indicated by a line, but on a real person, the planes are soft, everything is rounded off, so you won’t see the lines. 箱の平面の間に存在する境界線は固いものです。 ですので、それらは線として示されます。 しかし、実際の人物では、 平面は柔らかで、 すべてのものは丸みが付いており、 ですので皆さんが線を見ることは無いでしょう。 You must learn how to see an organic, complex form, and simplify it to a basic form or a combination of basic forms. 皆さんは、どうやって有機的で複雑な形を見るのか、 どうやってそれらの形を基本的な形もしくは基本的な形の組み合わせに 単純化するのかを 学ばなくてはなりません。 When deciding what form to use for an organic object, you want to chose the one that best describes the character of the object while keeping it simple. 有機的な物体に何らかの形を使おうと決めるとき、 皆さんは、 シンプルさを維持しながら、 物体の性質を最もよく描写する形を選びたいと思うでしょう。 There could also be multiple ways of simplifying the same object. 同じ物体を単純化する複数のやり方もまた存在します。 In this pose the whole torso could be simplified to a cylinder. このポーズでは、トルソ全体は円筒形に単純化されます。 Or you could make it a little more complex and add some boxes. または、皆さんはそれを若干複雑にし、いくつかの箱を加えることができます。 Mannequinization is just a tool. マネキナイゼーションはただの道具です。 You are the artist and you decide how you want to use it. 皆さんは芸術家であり、 皆さんがそれをどう使いたいか決めるのです。 02 57 Most people you draw will have similar basic forms, but they do vary depending on the body type. 皆さんが描くことになるほとんどの人は、似たような基本的な形を持っています。 しかし、それらは体型に依存してバリエーションがあります。 A lean, muscular, or overweight model will change some of the decisions you ll make. やせ形、筋肉質、肥満体型では、 皆さんが行ういくつかの決定は変化することでしょう。 Most of the surface forms of the body are muscles. 人体の表面上の形のほとんどは筋肉です。 Muscles are soft. 筋肉は柔らかいものです。 They stretch and compress to the position of the bones. それらは、骨の位置に合わせて 伸びたり縮んだりします。 So, the exact forms will change from pose to pose. ですので、ピッタリはまる形というのは ポーズからポーズへ変わるものです。 This pose calls for a rounded form in the belly. このポーズは、 おなかに於いては丸みの帯びた形を要求します。 While this one has the abs stretching, so it would be a flat plane. このポーズでは腹筋は伸びていますので、 おなかは平坦な面といえるでしょう。 These decisions are made on the spot as you’re constructing your drawing. これらの決定は、皆さんがドローイングを構築するときに、 その場で下されます。 But you also want to have a generic mannequin in your mind. しかし、皆さんは、頭の中に汎用的に使えるマネキンを持ちたいと思うでしょう。 03 36 Typically you ll see something like this 典型的には、以下のようなものがあります。 A box for the hip region with the edges slightly rounded off. 角が幾分丸められた、尻の範囲の箱です。 Making it kind of a combination between a box and a flattened cylinder, depending on the person you’re drawing. 皆さんが描いている人物に合わせて、 箱や扁平な円筒形の間で組み合わせの種類を作ってください。 The ribcage is shaped like an egg, pointier at the top and wider at the bottom. 胸郭は、卵のような形です。 上のほうは先細り、底の方は広くなっています。 I also like to think of the bottom as a boxier form with the corners at the 10th rib. 私はまた、底の方を、第十肋骨の角を反映した 箱寄りの形として考えることを好みます。 The waist is cylindrical. 腰は円筒形です。 Women tend to have a thinner waist. 女性は薄い腰を持つ傾向にあります。 Whereas, men are bulkier on the sides at oblique muscle. 一方で男性は、外腹斜筋のあたりの側面が膨らんでいます。 But, this area will change greatly with different physics. しかし、この範囲は、異なる体型に於いて 大変変化します。 A box for the shoulder area similar to the robobean 方の範囲の箱は、ロボビーンに類似したものです。 Cylinder for the neck 首を表す円筒形です。 A ball for the cranium and boxy shape for the jaw like I went over in the Head Drawing Fundamentals series 頭蓋のための球と、あごのための箱状の形です。 頭の描き方の基礎で私が行ったようなものです。 A cylinder at the upper leg tapering thinner as it goes towards the boxy knee 太もものための円筒形です。 箱型の膝に向かうにつれて先細りになっています。 And another tapering cylinder for the lower leg, which is actually widest at the calf about 2/3 of the way up 下腿のための別な先細りの円筒形です。 2/3ほど上に上がったあたりはふくらはぎとして太くなっています。 A boxy shape for the foot 足のための箱型の形です。 and all the toes そしてつま先です。 And the upper arm is a cylinder, which does not taper. 上腕は円筒形ですが、先細りではありません。 It generally stays about the same width from top to bottom 一般的に、てっぺんから底まで大体同じ幅を保っています。 another boxy or pyramid-like shape for the elbow 肘のための別な箱状もしくはピラミッド状の形です。 The forearm is round and cylindrical at the top and transitions to a box for the bony part of the wrist. 前腕は丸く円筒形なてっぺんと、箱型に移行していきます。 その箱型は、手首の骨ばった部分です。 Another box for the palm part of the hand ending at the knuckles. ナックル(指の付け根)で終わっている手の部分を表す別な箱です。 The fingers are a combination of cylinders and boxes for the knuckles. 指は、円筒形と箱の組み合わせで、ナックルに付いています。 So, these general forms are a good starting point, but the body is more complex than that. さて、 これらの一般的な形は始める場所としては良いですが、 実際の人体はそれより複雑です。 In order to accurately simplify the body, sometimes you need to be more specific with some of the anatomical nuances of the particular pose you re drawing. 正確に人体を単純化するために、 時々、皆さんは、 あなたが描いている特定のポーズの いくつかの解剖学的ニュアンスについて、 より明確にする必要があります。 So, let’s go through the body and look at each part in more detail. ですので人体全体をさらうのと同時に、 より詳細にそれぞれの部分を見ていきましょう。 05 25 Neck and Head 首と頭 The rounded cranial mass is a ball with the side chopped off for the flat temple area. 丸い頭蓋の塊は、 こめかみの平らな範囲を表す側面が切り落とされたボールです。 Add a triangular shape for the jaw, paying attention to the angle of front plane and bottom plane. あごを表す三角形を加えて、 前面と底面の角度に注意を払いましょう。 Then add a rhythm from the side of the head down to the chin to establish the plane change from side of the jaw to front of the jaw. その後、 あごの横からあごの前への平面の変化を確立するために、 頭の側面から降りてあごへ至るリズムを加えましょう。 I also like to put a rhythm in there for the brow ridge and an indication for the bottom of the nose. 私はまた、眉山のリズムをここに、鼻の下端の示唆をここに置くことを好みます。 Simplify the neck into a cylinder. 首を円筒形に単純化します。 The connection of the neck to the ribcage is diagonal, lower in the front and higher in the back. 首の胸郭への接続は斜めになっています。 前側では低く、後ろ側では高くなっています。 06 04 Also, notice in this pose we can see the bottom plane of the jaw. また、 このポーズに於いては、我々はあごの底面を見ているという事に 注目してください。 So make sure to wrap the jaw rhythm up to the chin and back down to the other side. ですので、あごのリズムが、あご先まで行き その後反対へ回って包むように注意してください。 Here’s another example with a top view. この例では上から見下ろしています。 This one has a more common, triangular shape for the jaw. このポーズは、一般的な三角形のあごが見えます。 Here’s a back angle of the head and neck. これは頭と首を後ろから見た時の例です。 From the back it s helpful to add the connection of the trapezius muscle to the back of the head since it covers much of the cylinder of the neck. 後ろから見た時、 僧帽筋の、頭の後ろへの接続を加えるのは有効です。 なぜなら、僧帽筋は、首の円筒形の大部分を覆っているからです。 This connection is about in line with the eyes. この接続は、目がある位置を表す線と大体高さが一致します。 In a neutral position the neck angles forward. 中立姿勢では、、首は前方へ傾きます。 It doesn t go straight up. 首は垂直にまっすぐではありません。 06 47 Torso トルソ I’ll usually use an egg shape or a cylinder for the rib cage. 私は、胸郭を表すものとして、卵型や円筒形を使っています。 Sometimes I’ll make the bottom of the ribcage boxy by showing the side and front plane, just like in the robo bean lesson. 時々、私は、側面と前面を使って、 胸郭の底を箱のように見せると思います。 ロボビーンのレッスンで行ったようにです。 To be a bit more specific you could indicate the thoracic arch on the front of the rib cage. もう少し具体的にするために、 皆さんは胸郭前面の肋骨弓を描写してもよいでしょう。 Generally men will have a wider arch curving outward and thinner,inward curves on women. 一般的に、男性は広く外側向きのアーチ状のカーブを持ち、 女性は、狭く内側へ向かうカーブを持っています。 From the back, I just use an oval or egg shape for the rib cage, without any corner. 後ろから見た時、 私は、胸郭を表すものとして、 角を取り除いた楕円若しくは卵型を使います。 Then attach a box for the hips. その後、尻を表す箱を加えます。 Sometimes on women, you can combine the ribcage and waist into a cylinder that locks right into a ball shape for the hips. 時折女性に於いて、 皆さんは、胸郭と腰を一つの円筒形に一体化することが出来ます。 その円筒形は、尻を表すボール型にガッチリと組み合わさります。 As you can see there’s a lot of options for the shapes you use. 皆さんがご覧のとおり、 皆さんが使う形にはたくさんの選択肢があります。 So, observe the body type and pose and simplify it in the way you think is best. ですので、 体型とポーズを観察し、 もっともよいと考える方法へ単純化しましょう。 When I’m drawing a male, I will almost always choose to use more boxes. 私が男性を描くとき、 私はほとんどいつも、より箱を使うことを選びます。 This adds more structure and feels more masculine. このことは、構造と印象に、より男性らしさを加えます。 Balls and cylinders have rounded edges that show the softer forms of a female. 球と円筒形は丸みを帯びた角をもち、 それは女性の柔らかな形を表すものです。 08 01 But boxes are also great to use when you’re concerned about the perspective of the body. しかし、箱はまた大変有効に使えます。 皆さんが人体の透視図法を考えるときにです。 Here’s an example where I was drawing the pose imagining I was looking from higher up, looking down. ここに例があります。 私は高いところから、下に見下ろしていると想像しながら、 このポーズを描いていました。 I established the angles to the vanishing point first and that helped to construct the boxes of the torso. 私は最初に、消失点までの角度を確立しました。 そうすることにより、トルソを表す箱を構築する助けになります。 !--ここから有料-- !--ここまで-- 12 59 Arms 腕 Like we did with the robo bean, the shoulders can be simplified to a box. ロボビーンの授業で我々がやったように、 肩は箱へ単純化できます。 I always look for the top plane to help me construct this box. 私は常に、箱を構築する助けになるてっぺんの面を探しています。 You will see the top plane of the shoulders if you re looking down at them. 皆さんは、モデルを見下ろす場合、 肩のてっぺんの面を見ることになるでしょう。 Otherwise, you’ll see a corner. さもなければ、皆さんが見るのは角です。 Here’s another example from the back. 後ろから見た別の例です。 In this pose we see a very thin piece of the top plane. このポーズでは、我々は、てっぺんの面の大変薄くなったものを見ています。 Attach the cylinder for the upper arm, and in this case the elbow is pointing away from us slightly. 上腕としての円筒形をくっつけ、 そして、この場合は、肘は我々から若干遠ざかる方向を指しています。 Then connect the top plane to the arm with the deltoid. その後、てっぺんの面を、三角筋とともに腕につなげます。 This is basically the side and back plane of the box, which comes to a point on the side of the arm. これは基本的に、箱の側面と後ろの面の場合です。 その箱は、腕の側では先細りになります。 The elbow is another box which with really help to show this arm coming toward us just a little bit. 肘は、また別の箱で、 その箱は、この腕が少々我々に向かっているというのを 表すのに大変助けになります。 Find an angle to the wrist. 手首に向かう角度を見つけます。 And attach the round part of the forearm. そして前腕の丸みを帯びた部分をくっつけます。 At the wrist, add another box. 手首では別な箱を加えます。 13 58 Make sure to think about the direction of the cross contour curves to show which way the cylinders are pointing. 円筒形がどちらを指し示しているのか見せるために、 等高線のカーブの方向をよく考えてください。 You can also think of the deltoid as a ball, with the cylinder of the arm wedging into it. 皆さんはまた、三角筋をボールとして考えることができます。 腕を表す円筒形が、三角筋のボールに突き刺さっています。 14 14 Legs 脚 Similar to the arms, the legs can be simplified to cylinders. 腕と似ていますが、 脚は円筒形に単純化できます。 Taper the cylinder to be thinner at the knee. 膝のあたりで円筒形は先細りになります。 Legs don t necessarily have to be attached to the bottom plane of the box. 脚は、必ずしも、箱の底の面に付着している必要があるわけではありません。 If they are bent forward they will be on the front plane. もし脚が前に曲がっているのなら、 それらは箱の前面に付きます。 Someone doing the splits will have them on the side planes. 股割りを行っている人物では 箱の側面に脚が付きます。 Anything in between will be on a corner. 脚の間にあるものはすべて、角の上に存在しています。 Don’t worry about it connecting perfectly to one of the planes.. 脚の平面への接続が完璧であることを気にしすぎないでください。 From the back, the orientation of the cylinders will affect the shape of the gluts. 後ろから見ると、 脚の円筒形の方向は、 殿筋の形に影響を与えるでしょう。 The gluts curve with the direction of the cross contour of the leg cylinder. 殿筋は、脚の円筒形の等高線の方向へ曲がるでしょう The right leg pulls the glut down and it will curve down with the leg cylinder. 右足は、殿筋を下へ引っ張り、 殿筋は脚の円筒形とともに下向きにカーブするでしょう。 On the left side, the leg pushes the glut up and it will curve up just as the cross contour of that cylinder would. 左側では、 脚は殿筋を上へ押し上げ、 殿筋は、脚の円筒形がそうであるように上向きにカーブするでしょう。 This connection is a great place to design your shapes to better explain the forms. この脚と尻の接続は 形をよりよく説明するためのデザインに於いては 大変重要な箇所になっています。 Both of his legs are pointing in our direction, so I’ll start by indicating the connect of the cylinders. 彼の両方の脚は、我々の方を向いています。 ですので、私は円筒形の接続を示唆することから始めます。 Then find an angle to the knee and indicate the boxy form at the knee with a top, front and side plane. その後、 膝への角度を探り、 てっぺん、前、側面を持った膝にある箱の形を示唆します。 I usually use a box in the joints. 私は、通常、関節に箱を使います。 The joints are more bony and have more distinct plane changes compared to the meaty areas between the joints. 関節は、関節の間の肉質の部分と比べると、 骨ばっており、明確な平面の変化を持っています。 So, the joints are great areas to show the orientation and perspective of the limbs. ですので、関節は四肢の方向と透視図法を見せるのに 大変優れた部分なのです。 !--ここから有料-- !--ここまで-- The connection of the shin to the foot can just be a cylinder, or sometimes I like to use a wrench shape to show the interlocking forms. すねの足への接続は、単なる円筒形、 若しくは時々、私は噛み合っている形を表現するため、レンチ形を使うのを好みます。 A narrow cylinder at the ankle and wider round form at the calf. くるぶしの細い円筒形と、 太ももの幅広く丸みを帯びた形です。 16 39 Procedure 手順 When you re doing these mannequin sketches, always start by establishing the gesture. 皆さんがマネキンスケッチを行っている最中、 ジェスチャーを構築することから始めてください。 Finding the flow, major angles, and checking proportional measurements. 流れを探り、方向を図り、 比率の計測を確認してください。 Then as a second layer, start adding the 3d forms. その後二番目の層として、 三次元の形を加えることを始めましょう。
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入手方法 詳説・特徴 関連リンク Belly of the Beast Full WyrmscaleQuality +20%Armour (685-812)Evasion 304 ステータス要求値:LEVEL46, 68 STR, 68 DEX (150-200)% increased ArmourArmourが(150-200)%増加 (30-40)% increased maximum Life最大Lifeが(30-40)%増加 +(10-15)% to all Elemental Resistances全エレメンタル耐性+(10-15)% 50% increased Flask Life Recovery rateフラスコのライフ回復速度が50%増加 Extra gore見た目の変化 There is no safer placeThan the Belly of the Beast 入手方法 カード等のドロップ以外の入手方法 アイテム 必要数 備考 Flesh of the Beast 1 The Beast 6 The Body 4 Arrogance of the Vaal 8 Jack in the Box 4 詳説・特徴 関連リンク 英wiki https //pathofexile.gamepedia.com/Belly_of_the_Beast Unique Body Armours 一覧
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Research Analysis The market research report profiles well-balanced information with previous as well as future results with an aim to offer a better understanding of the Wastepaper Management Market . The market report further offers an in-depth view of the leading factors that are related to increasing the demand growth for Wastepaper Management Market . Not only this but also in this study the readers can get an in-depth report of the possibilities in combination with the latest trends in the targeted market. It is also a detailed combination of 10 years old qualitative and quantitative analysis of the industry that has been presented in the report with an aim to help the market players to increase maximum profit in the sector. The market research report also provides information on the record of individual sales records that are made with the expected revenue over the forecast period. This research report provides an extensive examination of all the related segments present in the industry. Moreover, it throws light on the recent development as well as the opportunity is that is going on in the Wastepaper Management Market . Get a Sample PDF File@ https //www.quincemarketinsights.com/request-sample-88268?pu Market Report Features Overview Of The Market Report The market research report offers a detailed quantitative as well as qualitative overview of the market for Wastepaper Management Market on the basis of area, category, product, competitors, and application. In terms of expanded coverage, the market report is further extended in terms of end-user market analysis and the comprehensive producer profile. Market Segmentation Of Wastepaper Management Market The market segmentation of the Wastepaper Management Market is done on the basis of technology, product type, application, distribution channel, and end-user. Geographical segmentation is also being done to get valuable insights into the Wastepaper Management Market . Geographical Analysis Doing the geographical analysis is very important to know about the broad feature of the market. In this section, the readers can get a comprehensive analysis of the Wastepaper Management Market based on the geographical location. This section throws light on the demand and sales output for the Wastepaper Management Market at the national and international levels. The study is being done taking into account some of the major geographic regions such as North America, Europe, Asia Pacific, South America, Middle East, and Africa. Make an Enquiry for purchasing this Report @ https //www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-88268?pu Market Key Highlights The market report on the Wastepaper Management Market is a summary of the current market situation for the Wastepaper Management Market . Moreover, the analysis provides information regarding the newly launched product and also the products that are to be launched during the forecast period. The study also includes minute details regarding market share, segment, trends, growth and forecast DS Smith Plc, Global Waste Recyclers Ltd., Republic Services Inc., Shanying International Holdings Co. Ltd., UPM-Kymmene Corp., Waste Management Inc.,. Company overview, latest trends, financials. Quince Market Insights Top Trending Research Report* https //qmi189135117.wordpress.com/2022/09/16/cumene-sulfonic-acid-market-size-industry-growth-rate-global-share-upcoming-trends-leading-players-products-and-services-overview-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/3-hexenyl-salicylate-market-key-findings-growth-prospects-and-size-by-country-top-manufacturer-expansion-plans-and-business-strategy-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/ethylene-glycol-monostearate-market-trends-growth-size-swot-analysis-opportunity-assessment-by-forecast-to-2021-drivers-and-applications-are-pertinent-for-sustenance-during-the-forecast-period-20/ Details Contained In The Wastepaper Management Market Report 2021 Market Overview 1.1 Market Introduction 1.2 Market Analysis By Type 1.2.1 Type 1 1.2.2 Type 2 1.3 Market Analysis By Applications 1.3.1 Application 1 1.3.2 Application 2 1.4 Market Analysis by Regions 1.4.1 North America 1.4.2 Europe 1.4.3 Asia Pacific 1.4.4 South America 1.4.5 the Middle East and Africa Market Scope Market Segmentation by type, application, end-users and regions Market Size estimation Market Competition Key Market Leaders Conclusions The market research report offers a detailed study of the Wastepaper Management Market which include market shares, size and growth opportunities by applications, product types and geographic regions. Not only this but also the report also contains a detailed summary of the leading market players. The experts have also mentioned the market growth, threats, opportunities and risks. About Us QMI has the most comprehensive collection of market research products and services available on the web. We deliver reports from virtually all major publications and refresh our list regularly to provide you with immediate online access to the world’s most extensive and up-to-date archive of professional insights into global markets, companies, goods, and patterns. Contact us Quince Market Insights Phone +1 208 405 2835 Email sales@quincemarketinsights.com Website https //www.quincemarketinsights.com/
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Finrod was a Noldorin Elf, eldest son of Finarfin. In Eldamar, Finrod was friendly with Turgon and joined the revolt of the Noldor reluctantly; his beloved, Amarie of the Vanyar, did not go into Exile with him. Finrod was the first of the Eldar to encounter the Edain, whom he instructed on Ossiriand. He fought in the Wars of Veleriand; during Dagor Bragollach he was surrounded by Orcs in the Fen of Serech but was rescued by Barahir, to whom he gave the ring of Barahir as a pledge of aid to his house. When Beren later came to Nargothrond for that aid, Finrod gallantly went forth to his doom in the Quest of the Silmaril. Overcome vy Sauron in a duel of songs of power, Finrod was imprisoned with Beren in what had been his own dungeons of Minas Tirith. Finrod was slain by a wolf defending Beren and was buried on Tol Sirion. Finrod was very powerful, but also wise and just. He was a great traveler. He was called Felagund and Master of Caves vy the Dwarves for his labors at Nargothrond, Nom by the Edain whom he instructed, and the Faithful and Friend-of-Men for giving his life for Beren.
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ACT ONE 1. Overture Scene 1 (The Palace in Babylon) 2. Accompagnato NITOCRIS Vain, fluctuating state of human empire! First, small and weak, it scarcely rears its head, scarce stretching out its helpless infant arms, implores protection of its neighbour states, who nurse it to their hurt. Anon, it strives for power and wealth, and spurns at opposition. Arrived to full maturity, it grasps at all within its reach, overleaps all bounds, robs, ravages and wastes the frighted world. At length, grown old and swelled to bulk enormous, the monster in its proper bowels feeds pride, luxury, corruption, perfidy, contention, fell diseases of a state, that prey upon her vitals. Of her weakness Some other rising power advantage takes, (Unequal match!) plies with repeated strokes Her infirm aged trunk she nods, she totters, she falls, alas, never to rise again! The victor state, upon her ruins raised, runs the same shadowy round of fancied greatness, meets the same certain end. 3. Air Thou, God most high, and Thou alone, unchanged for ever dost remain Through boundless space extends thy throne, through all eternity thy reign. As nothing in thy sight The reptile man appears, Howe er imagined great; Who can impair thy might? In heaven or earth, who dares dispute thy power? Thy will is fate. Thou, God most high, and Thou alone, unchanged for ever dost remain Through boundless space extends thy throne, through all eternity thyreign. 4. Recitative The fate of Babylon I fear, is nigh. I have sought to avert it; small my skill, had not the Hebrew prophet with his counsel supported my weak steps. See, where he comes wisdom and goodness in his front serene conspicuous sit enthroned. (Enter Daniel) Oh, much beloved of God and man! Say, is there aught can save this sinking state? DANIEL Great Queen, tis not for man to pry into the counsels of omniscience. But you have done your duty, I mine. No more remains but to submit to what God, only wise and just, ordains. 5. Air Lament not thus, O Queen, in vain! Virtue s part is to resign all things to the will divine, nor of its just decrees complain. The sins of Babylon urge on her fate; but virtue still this comfort gives, on earth she finds a safe retreat, or blessed in Heav n for ever lives. Scene 2 (The camp of Cyrus before Babylon. A view of the city, with the River Euphrates running through it. Cyrus, Gobrias, Medes and Persians) 6. BABYLONIANS (upon the walls, deriding Cyrus, as engaged in an impractible undertaking) Behold, by Persia s hero made in ample form, the strong blockade! How broad the ditch, how deep it falls! What lofty towers o erlook the walls! Hark, Cyrus! Twenty times the sun round the great year his course shall run If there so long thy army stay, not yet to dogs and birds a prey, no succour from without arrive, within remain no means to live, we then may think it time to treat, and Babylon capitulate. A tedious time! To make it short, thy wise attempt will find us sport. 7. Recitative GOBRIAS Well may they laugh, from meagre famine safe, in plenteous stores for more than twenty years; from all assault secure in gates of brass, and walls stupendous; in Euphrates depth yet more secure. CYRUS Tis that security shall aid me to their ruin. I tell thee, Gobrias, I will revenge thy wrongs upon the head of this inhuman king. 8. Accompagnato GOBRIAS Oh, memory! Still bitter to my soul! Methinks I see my son, the best, the loveliest of mankind, whose filial love and duty above all sons made me above all other fathers happy, I see him breathless at the tyrant s feet, the victim of his envy. 9. Air Oppressed with never-ceasing grief, I drag a painful, weary life; of all that made life sweet bereft, no hope, but in revenge, is left. 10. Air CYRUS Dry those unavailing tears, haste your just revenge to speed; I ll disperse your gloomy fears, dawning hope shall soon succeed. 11. Recitative Be comforted safe though the tyrant seem within those walls, I have a stratagem, inspired by Heav n (dreams oft descend from Heav n) shall baffle all his strength; so strong my mind the impression bears, I cannot think it less. 12. Accompagnato Methought, as on the bank of deep Euphrates I stood, revolving in my anxious mind our arduous enterprise, a voice divine, in thunder uttered, to the bottom seemed to pierce the river s depth. The lofty towers of yon proud city trembling bowed their heads, a they would kiss the ground. "Thou deep," it said, “be dry". No more; but instant at the word, the stream forsook its bank, and in a moment left bare his oozy bed. Amazed I stood Horror, till then unknown, uprais d my hair, and froze my falt ring tongue. The voice renew d "Cyrus, go on, and conquer tis I that rais d thee, I will direct thy way. Build thou my city, and without ransom set my captives free." 13. Recitative CYRUS Now tell me, Gobrias, does not this Euphrates flow through the midst of Babylon? GOBRIAS It does. CYRUS And I have heard you say, that on the west a monstrous lake, on every side extended, four hundred furlongs, while the banks were made, received the exhausted river? GOBRIAS Tis most true. CYRUS Might we not then by the same means now drain Euphrates dry, and through its channel march into the city? GOBRIAS Suppose this done yet still the brazen gates, which from the city to the river lead, will bar our passage, always shut by night, when we must make the attempt. Could we suppose those gates unshut, we might indeed ascend with ease into the city. CYRUS Said you not This is the feast to Sesach consecrate? And that the Babylonians spend the night in drunken revels, and in loose disorder? GOBRIAS They do; and tis religion to be drunk on this occasion. 14. Air Behold the monstrous human beast wallowing in excessive feast! No more his Maker s image found but, self-degraded to a swine, he fixes grov ling on the ground his portion of the breath Divine. Behold the monstrous human beast wallowing in excessive feast! 15. Recitative CYRUS Can you then think it strange, if drown d in wine, and from above infatuate, they neglect the means of their own safety? 16. Air Great God, who, yet but darkly known, thus far hast deigned my arms to bring; support me still, while I pull down Assyria s proud, injurious king. So shall this hand thy altars raise, this tongue for ever sing thy praise; and all thy will, when clearly shown, by thy glad servant shall be done. 17. Recitative My friends, be confident, and boldly enter upon this high exploit. No little cause we have to hope success; since not unjustly we have attacked, but being first attacked, we have pursued the aggressor. Add to this, that I proceed in nothing with neglect of power divine whatever I undertake, I still begin with God, and gain His favour with sacrifice and prayer. 18. Chorus All empires upon God depend; begun by his command, at his command they end. Look up to him in all your ways, begin with prayer and end with praise. Scene 3 (Daniel s house. Daniel, with the Prophecies of Isaiah and Jeremiah open before him. Other Jews) 19. Air DANIEL O sacred oracles of truth, o living spring of purest joy! By day be ever in my mouth, and all my nightly thoughts employ. Whoever withhold attention due, neglect themselves, despising you. O sacred oracles of truth, o living spring of purest joy! By day be ever in my mouth, and all my nightly thoughts employ. 20. Accompagnato Rejoice, my countrymen! The time draws near, the long-expected time herein foretold "Seek now the Lord your God with all your heart, and you shall surely find him. He shall turn your long captivity he shall gather you from all the nations whither you are driven, and to your native land in peace restore you." For long ago, Whole ages ere this Cyrus yet was born or thought of, great Jehovah, by His Prophet, in words of comfort to his captive people foretold, and called by name the wonderous man. 21. Air "Thus saith the Lord to Cyrus, his anointed, whose right hand I have holden, to subdue nations before him I will go before thee, to loose the strong-knit loins of mighty kings, make straight the crooked places, break in pieces the gates of solid brass, and cut in sunder the bars of iron, for my servant s sake, Israel my chosen. Though thou hast not known me, I have surnamed thee I have girded thee that from the rising to the setting sun the nations may confess, I am the Lord, there is none else, there is no God besides me. Thou shalt perform my pleasure, to Jerusalem saying, ‘Thou shalt be built’; and to the Temple, ‘Thy razed foundation shall again be laid’." 22. CHORUS Sing, O ye Heavens, for the Lord hath done it! Earth, from thy centre shout! Break forth, ye mountains, into songs of joy, o forest, and each tree therein, for the Lord hath done it! Jehovah hath redeemed Jacob, And glorified himself in Israel. Hallelujah! Amen, Hallelujah! Scene 4 (The Palace. Belshazzard, Nitocris, Babylonians and Jews) 23. Air BELSHAZZAR Let festal joy triumphant reign, Glad every heart, in every face appear! Free flow the wine, nor flow in vain; Far fly corroding care. Each hand the chime melodious raise, each voice exult in Sesach s praise; Let order vanish! Liberty alone, unbounded liberty the night shall crown. Let festal joy triumphant reign. Free flow the wine, nor flow in vain; Far fly corroding care. 24. Recitative For you my friends, the nobles of my court, I have prepar d a feast magnificent, worthy of you and me. Let all my wives and concubines attend. Our royal mother… NITOCRIS I must prevent thee, son. Who can endure the unbridled license of this festival, Miscalled by the licentious, liberty? Where nought prevails but riotous excess, The noisy idiot laugh, the jest obscene, the scurril taunt, and drunken midnight brawl. My soul starts back at such brutality, Asserting reason s empire. 25. Air The leafy honours of the field, before the furious driving wind, in giddy dissipation fly. To noise and folly forc d to yield, the fair ideas quit the mind, and lost in wild confusion lie. The leafy honours of the field, before the furious driving wind, in giddy dissipation fly. 26. Recitative BELSHAZZAR It is the custom, I may say, the law, by long prescription fixed. (looking round and spying the Jews) These captive Jews! What do they here? They lower upon our joys, and envy liberty they cannot taste. Yet something your perverse and wayward nation shall to our mirth contribute. Bring those vessels, those costly vessels my victorious grandsire took from the Temple of Jerusalem, and in the temple of Bel laid up, but used them not tis fit they should be used. And let their God, whose power was found too weak to save his people, serve the conquerors of him and them. We ll revel in his cups Their rich materials and choice workmanship shall well augment the splendor of our feast. And as we drink, we ll praise our country gods, To whom we owe the prize. NITOCRIS Oh, sacrilege, Unheard of profanation! 27. JEWS Recall, O king, thy rash command! Nor prostitute with impious hand to uses vile the holy things of great Jehovah, king of kings. Thy grandsire trembled at his name, and doomed to death who durst blaspheme; For he, like us, his power had tried, confessed him just in all his ways, confessed him able to abase the sons of men that walk in pride. 28. Recitative NITOCRIS They tell you true; nor can you be to learn Though ease and pleasure have engrossed you all things done in public view. I ll not repeat the seven-fold heated furnace, by that God whom you defy, made to his faithful servants a walk of recreation; nor the king, in height of all his pride, drove from his throne, and from the first of men, in thought a god, reduced to brutal rank all this, and more, thou knows t as well as I, and shoulds t consider. BELSHAZZAR Away! Is then my mother convert grown to Jewish superstition? Apostate queen! These idle tales might well become the dotage of palsied eld, but not a queen like you, in prime of life, for wisdon far renown d. On to the feast! I waste my time too long in frivolous dispute, time, due of right to pleasure and the gods. 29. Duet NITOCRIS O dearer than my life, forbear! Profane not, o my son, with impious rites Jehovah s Name. Remember what His arm has done, The earth contains not half his fame Remember, and his vengeance fear! BELSHAZZAR O queen, this hateful theme forbear! Join not against your son with captive slaves, your country s foes. Remember what our gods have done To those who durst their power oppose. Remember, and their vengeance fear. NITOCRIS Alas! Then must I see my son headlong to sure destruction run? BELSHAZZAR Not to destruction but delight I fly, and all once more invite to reign with me this happy night. NITOCRIS O dearer than my life, forbear! (Exeunt severally) 30. Chorus of Jews By slow degress the wrath of God to its meridian height ascends; There mercy long the dreadful bolt suspends, ere it offending man annoy; Long patient for repentance waits, reluctant to destroy. At length the wretch, obdurate grown, infatuate, makes the ruin all his own; And every step he takes, on his devoted head precipitates the thunder down. ACT ONE 1. Overture Scene 1 (The Palace in Babylon) 2. Accompagnato NITOCRIS Vain, fluctuating state of human empire! First, small and weak, it scarcely rears its head, scarce stretching out its helpless infant arms, implores protection of its neighbour states, who nurse it to their hurt. Anon, it strives for power and wealth, and spurns at opposition. Arrived to full maturity, it grasps at all within its reach, overleaps all bounds, robs, ravages and wastes the frighted world. At length, grown old and swelled to bulk enormous, the monster in its proper bowels feeds pride, luxury, corruption, perfidy, contention, fell diseases of a state, that prey upon her vitals. Of her weakness Some other rising power advantage takes, (Unequal match!) plies with repeated strokes Her infirm aged trunk she nods, she totters, she falls, alas, never to rise again! The victor state, upon her ruins raised, runs the same shadowy round of fancied greatness, meets the same certain end. 3. Air Thou, God most high, and Thou alone, unchanged for ever dost remain Through boundless space extends thy throne, through all eternity thy reign. As nothing in thy sight The reptile man appears, Howe er imagined great; Who can impair thy might? In heaven or earth, who dares dispute thy power? Thy will is fate. Thou, God most high, and Thou alone, unchanged for ever dost remain Through boundless space extends thy throne, through all eternity thyreign. 4. Recitative The fate of Babylon I fear, is nigh. I have sought to avert it; small my skill, had not the Hebrew prophet with his counsel supported my weak steps. See, where he comes wisdom and goodness in his front serene conspicuous sit enthroned. (Enter Daniel) Oh, much beloved of God and man! Say, is there aught can save this sinking state? DANIEL Great Queen, tis not for man to pry into the counsels of omniscience. But you have done your duty, I mine. No more remains but to submit to what God, only wise and just, ordains. 5. Air Lament not thus, O Queen, in vain! Virtue s part is to resign all things to the will divine, nor of its just decrees complain. The sins of Babylon urge on her fate; but virtue still this comfort gives, on earth she finds a safe retreat, or blessed in Heav n for ever lives. Scene 2 (The camp of Cyrus before Babylon. A view of the city, with the River Euphrates running through it. Cyrus, Gobrias, Medes and Persians) 6. BABYLONIANS (upon the walls, deriding Cyrus, as engaged in an impractible undertaking) Behold, by Persia s hero made in ample form, the strong blockade! How broad the ditch, how deep it falls! What lofty towers o erlook the walls! Hark, Cyrus! Twenty times the sun round the great year his course shall run If there so long thy army stay, not yet to dogs and birds a prey, no succour from without arrive, within remain no means to live, we then may think it time to treat, and Babylon capitulate. A tedious time! To make it short, thy wise attempt will find us sport. 7. Recitative GOBRIAS Well may they laugh, from meagre famine safe, in plenteous stores for more than twenty years; from all assault secure in gates of brass, and walls stupendous; in Euphrates depth yet more secure. CYRUS Tis that security shall aid me to their ruin. I tell thee, Gobrias, I will revenge thy wrongs upon the head of this inhuman king. 8. Accompagnato GOBRIAS Oh, memory! Still bitter to my soul! Methinks I see my son, the best, the loveliest of mankind, whose filial love and duty above all sons made me above all other fathers happy, I see him breathless at the tyrant s feet, the victim of his envy. 9. Air Oppressed with never-ceasing grief, I drag a painful, weary life; of all that made life sweet bereft, no hope, but in revenge, is left. 10. Air CYRUS Dry those unavailing tears, haste your just revenge to speed; I ll disperse your gloomy fears, dawning hope shall soon succeed. 11. Recitative Be comforted safe though the tyrant seem within those walls, I have a stratagem, inspired by Heav n (dreams oft descend from Heav n) shall baffle all his strength; so strong my mind the impression bears, I cannot think it less. 12. Accompagnato Methought, as on the bank of deep Euphrates I stood, revolving in my anxious mind our arduous enterprise, a voice divine, in thunder uttered, to the bottom seemed to pierce the river s depth. The lofty towers of yon proud city trembling bowed their heads, a they would kiss the ground. "Thou deep," it said, “be dry". No more; but instant at the word, the stream forsook its bank, and in a moment left bare his oozy bed. Amazed I stood Horror, till then unknown, uprais d my hair, and froze my falt ring tongue. The voice renew d "Cyrus, go on, and conquer tis I that rais d thee, I will direct thy way. Build thou my city, and without ransom set my captives free." 13. Recitative CYRUS Now tell me, Gobrias, does not this Euphrates flow through the midst of Babylon? GOBRIAS It does. CYRUS And I have heard you say, that on the west a monstrous lake, on every side extended, four hundred furlongs, while the banks were made, received the exhausted river? GOBRIAS Tis most true. CYRUS Might we not then by the same means now drain Euphrates dry, and through its channel march into the city? GOBRIAS Suppose this done yet still the brazen gates, which from the city to the river lead, will bar our passage, always shut by night, when we must make the attempt. Could we suppose those gates unshut, we might indeed ascend with ease into the city. CYRUS Said you not This is the feast to Sesach consecrate? And that the Babylonians spend the night in drunken revels, and in loose disorder? GOBRIAS They do; and tis religion to be drunk on this occasion. 14. Air Behold the monstrous human beast wallowing in excessive feast! No more his Maker s image found but, self-degraded to a swine, he fixes grov ling on the ground his portion of the breath Divine. Behold the monstrous human beast wallowing in excessive feast! 15. Recitative CYRUS Can you then think it strange, if drown d in wine, and from above infatuate, they neglect the means of their own safety? 16. Air Great God, who, yet but darkly known, thus far hast deigned my arms to bring; support me still, while I pull down Assyria s proud, injurious king. So shall this hand thy altars raise, this tongue for ever sing thy praise; and all thy will, when clearly shown, by thy glad servant shall be done. 17. Recitative My friends, be confident, and boldly enter upon this high exploit. No little cause we have to hope success; since not unjustly we have attacked, but being first attacked, we have pursued the aggressor. Add to this, that I proceed in nothing with neglect of power divine whatever I undertake, I still begin with God, and gain His favour with sacrifice and prayer. 18. Chorus All empires upon God depend; begun by his command, at his command they end. Look up to him in all your ways, begin with prayer and end with praise. Scene 3 (Daniel s house. Daniel, with the Prophecies of Isaiah and Jeremiah open before him. Other Jews) 19. Air DANIEL O sacred oracles of truth, o living spring of purest joy! By day be ever in my mouth, and all my nightly thoughts employ. Whoever withhold attention due, neglect themselves, despising you. O sacred oracles of truth, o living spring of purest joy! By day be ever in my mouth, and all my nightly thoughts employ. 20. Accompagnato Rejoice, my countrymen! The time draws near, the long-expected time herein foretold "Seek now the Lord your God with all your heart, and you shall surely find him. He shall turn your long captivity he shall gather you from all the nations whither you are driven, and to your native land in peace restore you." For long ago, Whole ages ere this Cyrus yet was born or thought of, great Jehovah, by His Prophet, in words of comfort to his captive people foretold, and called by name the wonderous man. 21. Air "Thus saith the Lord to Cyrus, his anointed, whose right hand I have holden, to subdue nations before him I will go before thee, to loose the strong-knit loins of mighty kings, make straight the crooked places, break in pieces the gates of solid brass, and cut in sunder the bars of iron, for my servant s sake, Israel my chosen. Though thou hast not known me, I have surnamed thee I have girded thee that from the rising to the setting sun the nations may confess, I am the Lord, there is none else, there is no God besides me. Thou shalt perform my pleasure, to Jerusalem saying, ‘Thou shalt be built’; and to the Temple, ‘Thy razed foundation shall again be laid’." 22. CHORUS Sing, O ye Heavens, for the Lord hath done it! Earth, from thy centre shout! Break forth, ye mountains, into songs of joy, o forest, and each tree therein, for the Lord hath done it! Jehovah hath redeemed Jacob, And glorified himself in Israel. Hallelujah! Amen, Hallelujah! Scene 4 (The Palace. Belshazzard, Nitocris, Babylonians and Jews) 23. Air BELSHAZZAR Let festal joy triumphant reign, Glad every heart, in every face appear! Free flow the wine, nor flow in vain; Far fly corroding care. Each hand the chime melodious raise, each voice exult in Sesach s praise; Let order vanish! Liberty alone, unbounded liberty the night shall crown. Let festal joy triumphant reign. Free flow the wine, nor flow in vain; Far fly corroding care. 24. Recitative For you my friends, the nobles of my court, I have prepar d a feast magnificent, worthy of you and me. Let all my wives and concubines attend. Our royal mother… NITOCRIS I must prevent thee, son. Who can endure the unbridled license of this festival, Miscalled by the licentious, liberty? Where nought prevails but riotous excess, The noisy idiot laugh, the jest obscene, the scurril taunt, and drunken midnight brawl. My soul starts back at such brutality, Asserting reason s empire. 25. Air The leafy honours of the field, before the furious driving wind, in giddy dissipation fly. To noise and folly forc d to yield, the fair ideas quit the mind, and lost in wild confusion lie. The leafy honours of the field, before the furious driving wind, in giddy dissipation fly. 26. Recitative BELSHAZZAR It is the custom, I may say, the law, by long prescription fixed. (looking round and spying the Jews) These captive Jews! What do they here? They lower upon our joys, and envy liberty they cannot taste. Yet something your perverse and wayward nation shall to our mirth contribute. Bring those vessels, those costly vessels my victorious grandsire took from the Temple of Jerusalem, and in the temple of Bel laid up, but used them not tis fit they should be used. And let their God, whose power was found too weak to save his people, serve the conquerors of him and them. We ll revel in his cups Their rich materials and choice workmanship shall well augment the splendor of our feast. And as we drink, we ll praise our country gods, To whom we owe the prize. NITOCRIS Oh, sacrilege, Unheard of profanation! 27. JEWS Recall, O king, thy rash command! Nor prostitute with impious hand to uses vile the holy things of great Jehovah, king of kings. Thy grandsire trembled at his name, and doomed to death who durst blaspheme; For he, like us, his power had tried, confessed him just in all his ways, confessed him able to abase the sons of men that walk in pride. 28. Recitative NITOCRIS They tell you true; nor can you be to learn Though ease and pleasure have engrossed you all things done in public view. I ll not repeat the seven-fold heated furnace, by that God whom you defy, made to his faithful servants a walk of recreation; nor the king, in height of all his pride, drove from his throne, and from the first of men, in thought a god, reduced to brutal rank all this, and more, thou knows t as well as I, and shoulds t consider. BELSHAZZAR Away! Is then my mother convert grown to Jewish superstition? Apostate queen! These idle tales might well become the dotage of palsied eld, but not a queen like you, in prime of life, for wisdon far renown d. On to the feast! I waste my time too long in frivolous dispute, time, due of right to pleasure and the gods. 29. Duet NITOCRIS O dearer than my life, forbear! Profane not, o my son, with impious rites Jehovah s Name. Remember what His arm has done, The earth contains not half his fame Remember, and his vengeance fear! BELSHAZZAR O queen, this hateful theme forbear! Join not against your son with captive slaves, your country s foes. Remember what our gods have done To those who durst their power oppose. Remember, and their vengeance fear. NITOCRIS Alas! Then must I see my son headlong to sure destruction run? BELSHAZZAR Not to destruction but delight I fly, and all once more invite to reign with me this happy night. NITOCRIS O dearer than my life, forbear! (Exeunt severally) 30. Chorus of Jews By slow degress the wrath of God to its meridian height ascends; There mercy long the dreadful bolt suspends, ere it offending man annoy; Long patient for repentance waits, reluctant to destroy. At length the wretch, obdurate grown, infatuate, makes the ruin all his own; And every step he takes, on his devoted head precipitates the thunder down. Handel,George Frideric/Belshazzar/II